Three Decades Back, Wes Craven and the Comedy Legend Collaborated for an Forgotten Cinematic Jewel
The director's latest work may have revitalized the concept of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, securing its position in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your scares this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a movie that handily balances scares and laughs.
Artistic Goals
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). Meanwhile, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. One of Black cinema’s most praised actresses, she gives a commanding performance with her co-star, a familiar face from the era. In the meantime, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a third act packed with temptation, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film shows moments of brilliance that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an underappreciated but influential entry defined by its bold style and unforgettable performances.
